Every prop, costume and piece of scenery must fit in a van, and the singers must contend with an unfamiliar setting, where microphones and the occasional clink of silverware replace the opera house traditions they’re used to.

When the Rutgers Opera Institute makes it New York debut at Le Poisson Rouge with a performance of Benjamin Britten’s "The Rape of Lucretia" on Sunday, the school will celebrate a new program and offer students valuable experience.

But it won’t be easy.

"We’re hoping that bringing the show to New York will bring more attention to the institute," says producer and director Pamela Gilmore. "It gives our singers a level of exposure they might not get in New Jersey and also a level of scrutiny which is going to be higher."

It is far from the first time arias have been heard at the Greenwich Village nightclub, which was formerly the Village Gate. But the venue still provides a new opportunity for the student singers. For some, it will be the first time singing amplified.

Performing there as part of their education reflects a changing opera climate, in which singers should expect their careers to involve performances on small or unconventional stages. "They need to be more flexible than ever," Gilmore says.

"Lucretia," which also will be performed at Rutgers on Saturday, is part of an ongoing, industry-wide celebration of the 100th anniversary of the composer’s birth.

Narrated in Greek drama style by characters known as the Female Chorus and Male Chorus (each only one singer), the story is set in 509 B.C. and is based on accounts of Roman history involving the brutal Etruscan prince Tarquinius and his actions toward Lucretia, the virtuous wife of Collatinus, which spur on a revolution.

"Historically, it is tremendously important, and we try to make that clear from the very beginning, with slides that talk about the historic aspect of it," Gilmore says. "This act precipitated the Roman overthrowing of their Etruscan rulers."

At the end of the opera, the question, "Is all this suffering and pain in vain?" is asked, and religious redemption is the answer. "It’s always been a very controversial piece," Gilmore says. "This is essentially a pre-Christian story told from a Christian perspective by the male and female chorus."

The chamber opera features eight vocalists and a 13-piece orchestra. Premiered in 1946, it embodies various aspects of the composer’s style, with characters haunted by dark impulses and their consequences, lyrical interludes contrasting forceful punches of dissonance and clamor, and masterful command of orchestral color.

The Rutgers production’s set, because of the stage size and need to travel, will be minimal — two columns, a platform and film projections. The stage manager has used tape to mark off a fraction of the university stage that fits LPR’s dimensions.

"I have performed in a cabaret setting, so I know what that’s like, but never an opera," says Sahoko Sato, who plays the title role. "I will be curious to know how it works with the amplification and people having dinner and standing up. … We have only a few hours to do the soundcheck."

Performing in a place where every audience member can see every gesture also influences the singers’ acting. "We have more outlets than ever for performing, with YouTube and HD video presentations," says singer Curtis Streetman, who plays Collatinus. "Those HD cameras don’t miss a trick, so you have to be convincing up close and personal, as well as being able to show your artistry in a traditional hall."

This is the first year students have been welcomed into the university’s new opera concentration. In 2011, Rutgers received a $6.6 million gift from the estate of alumna Victoria J. Mastrobuono, which has been used toward the program, including scholarships.

Students audition for a masters’ degree or performance diploma and study topics such as acting, movement and the business of opera. This year, there are three singers involved; Gilmore hopes to double the number next year.

The current season includes three fully staged productions, showing growth from the previous tradition of one production and one workshop per year. "The quality of applicants has really improved," Gilmore says.

As Streetman points out, in a way, the new production is keeping with tradition. The composer’s first chamber opera, "Lucretia," was premiered at Glyndebourne in England and written to tour. In 1948, it inaugurated the Aldeburgh Festival, which in its early days used intimate halls and churches.

"I think Britten would totally approve," Streetman says.

The Rape of LucretiaWhere and when: Nicholas Music Center, 85 George St., New Brunswick, Saturday at 2 p.m. Le Poisson Rouge, 158 Bleecker St., New York, Sunday at 8 p.m.How much: $15 for New Brunswick; call (848) 932-7511 or visit masongross.rutgers.edu. $20 in advance, $25 day of show for New York; call (212) 505-3474 or visit lepoissonrouge.com